Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kenya and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the marimba sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Bobbi Humphrey to the techno kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Neil Young & Crazy Horse. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Jesper Dahlbäck,
The Monks,
David Bowie,
Cameo,
Barbara Tucker,
Adolescents,
Yaz,
The Standells,
The Dave Clark Five,
The Skatalites,
Red Lorry Yellow Lorry,
A Flock of Seagulls,
Ronan,
ABBA,
The Divine Comedy,
Lou Christie,
Charles Mingus,
Derrick May,
Animal Collective,
Rapeman,
Junior Murvin,
Wasted Youth,
James Chance & The Contortions,
Royal Trux,
Crispian St. Peters,
The Blues Magoos,
the Soft Cell,
Second Layer,
K-Klass,
John Holt,
Massinfluence,
Throbbing Gristle,
Faust,
Pantaleimon,
Unwound,
Scratch Acid,
Kenny Larkin,
Lebanon Hanover,
Echo & the Bunnymen,
Fluxion,
Trumans Water,
Fat Boys,
Minor Threat,
Moebius,
Cabaret Voltaire,
Peter & Gordon,
D'Angelo,
Röyhkä ja Rättö ja Lehtisalo,
Marcia Griffiths,
Kango’s Stein Massive,
Agitation Free,
Lizzy Mercier Descloux,
Robert Görl,
MDC,
Panda Bear,
The Mummies,
Robert Hood,
Icehouse,
Interpol,
Bluetip,
Bizarre Inc.,
Amazonics,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.